Boroughs Publishing Group News


Showered With Love

Burlesque Baby Whatever He Needs
Burlesque Baby

Olive literally slams in to Vic’s life and changes both their outlooks on what they want and who will be their forever.
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Whatever He Needs

Liam falls for a guy from the wrong side of the tracks who has a shedload of issues, but is the sweetest person he’s ever known.
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Breaking Wicked Selfless
Breaking Wicked

While Katherine would do anything for love and security, Trix willingly walks away from his family and a life of luxury.
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Hope’s new life is threatened by severe headaches, which leaves her blind and throws her life into and turmoil, but where’s there’s Hope...
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Writer's World

Tips & Answers to Qs

Using Funny Words in RomComs

Over the years, many comedians have commented on what words are funny,
and how funny words help make a story funny.

“Alka Seltzer is funny. You say ‘Alka Seltzer’ you get a laugh.

Words with ‘k’ in them are funny. Casey Stengel, that’s a funny name.

Robert Taylor is not funny.

Cupcake is funny. Tomato is not funny. Cookie is funny. Cucumber is funny.

Car keys. Cleveland. Cleveland is funny. Maryland is not funny.

Then, there’s chicken. Chicken is funny. Pickle is funny.”

Excerpt from The Sunshine Boys – Neil Simon

Watch a short master class on writing funny:

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From the Editor's Desk

Editor's Desk - Kill Your Darlings

Kill Your Darlings

Most people think the phrase means killing off beloved characters.

Not true. Mostly.

To the best of our knowledge, Sir Arthur Quiller-Couch said it first: Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it—wholeheartedly—and delete it before sending your manuscript to press. Murder your darlings.

More famously, William Faulkner kept it short: In writing, you must kill all your darlings. And Stephen King added flourish: Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler's heart, kill your darlings.

The sentiment speaks to an author’s unreasonable and unhealthy attachment to particular chapters/scenes/phrases/words, which makes them oblivious to its/their disposability. Unnecessary storylines, and sometimes characters, must be removed for the sake of the story.

Frequently, authors are blind to their darlings, or can’t bring themselves to cut them out. Enter the developmental editor. The axe wielding slayer of gratuitous, dispensable, extraneous, useless, pointless chapters/scenes/phrases/words, and even characters.

After you’ve had your defensive rant, which you never, ever share with your editor, use the critical eye you employ when reading other people’s books on your MS. Remembering an editor’s job is to make your book better, were the cuts/changes warranted?

Ninety percent of the time, the answer is an unequivocal yes. Where there is room for discussion, initiate it—professionally.

Creating a solid relationship with your editor means when your darlings die, you can toast their demise knowing they’ve been relegated to an afterlife akin to outtake reels. You can look back at what’s been cut and laugh, understanding your book is better for your darlings’ absence.